The album opens with a delightful number made up of a collection of beautiful melodies and a lovely vocal performance. Ghibhran understands the weight of the main melody and gives it plenty of breathing space without over producing or additional orchestration. Sundar Naryana Rao’s singing is perfectly in sync with mood and the demands of the composition.

A masterful use of accapella to set up the groove and the quirky mood of the song. The manner in which the music director has put together several intricate pieces is a sign of his craftsmanship. Ghibhran keeps the melodies simple and straightforward but he packages it in a unique way with his sequencing. The vocal group comprising of Shruthi, Anitha and Shabir dress up this tune that is already brimming with life.

Most of the instruments are played in a low register, including the usually sharp saxophone. This ensures the opportunity for the vocalist, Sundar Narayana Rao, to play around with different ranges within the same melody, and he does a fine job at it. By now Ghibhran does give you the impression that he has an inclination towards jazz, swing-time and probably even doo wop styles of music. But the composer does enough to bring a nativity to his compositions with his choice of percussions.

A fairly racy electronic tune that possesses a tension that’s sustained for most part of the song. The track peaks to a crescendo towards the end with a grand arrangement of strings and keys with effect of a large backing choir. Shabir’s power-packed singing adds to the drama. Ghibhran uses additional percussions during the chorus to make it sound more thunderous, and it does !

The theme music finds room for segments that are pulsating and some silent before climbing into serious mode once again. When the music director lets go of the high pitched strings he resorts to menacing percussions to take charge. A solid composition that should serve its purpose rather well.